This week we have another A7 lick - it's chord specific so if you are going to use it in a blues - then play it over the A7 and when the chord moves to D7 - move the lick too! Very important.

Don't be too freaked out by the theory stuff - it's fine just to play it and use it - but those into all that might like to try using some other C#min7b5 arpeggios over A7 chords and see what they come up with ;) more info on the theory below...

But have fun ;)

TAB

The half dimini-whaaaa?

So why on earth would you play a half diminished arpeggio over a A7 chord? Well I'm glad you asked...

It's a real common tool and sounds cool too. Lets look at the notes we would find in a A9 chord.

R	3	5	b7	9
A	C#	E	G	B

So if we start with the C# note and just look at the notes C#, E, G and B - these form a C#m7b5 chord - which sounds awesome as a replacement for an A7 chord! Either the chord itself (TAB: x 4 5 4 5 x - note that no root note is played, but this is an A9 chord!) or the arpeggio as used here. There is a lot more about this in Superimposing Arpeggios if you are keen on more head stuff...